I've heard it said before that all you need to make any art is something to say and an understanding and respect for the medium. That's been a comforting thought to me over the last year in which I attempted to realise my idea for a unique welding of film and music.

Since completing the project a day before its debut at Latitude festival three weeks ago, I have been left a little bewildered. I first conceived the idea last summer and it slowly spiralled from a sincere ambition to an overwhelming, life-absorbing obsession. Sleep had been a fleeting luxury for a while and relaxation a faint myth that I had experienced in another lifetime. The film's producer Olivier Kaempfer described the task as "making a near feature-length film, for the budget of a short, in eight days". A daunting task, but fortune continues to favour the brave.

While recording the album in January I met with Mercury Records video commissioner Dan Curwin and fought my case as to why such an unusual, leftfield project was vital for the integrity and survival of the label that houses, among a vast list of others, Mariah Carey and U2. Curwin is a rare breed within the music industry - passionate and sincere - and it was his gentle persuasion that led Mercury to donate two thirds of the budget I needed. He also made the introductions to Tomboy Films and Parkville Pictures, the film's producers.

Under the steady guidance of Parkville and Tomboy I set about putting together the cast and crew. The first person to be cast was Daisy Lowe, who I met in New York. She was interested in both the project and my love of Dr Stuart's tranquility tea, which was very important. I had secured the film's femme fatale. After another few weeks in London, I had a full cast.

It's worth mentioning that the limited budget for the film meant that people were working for an absolute minimum and still, when on set, it was one of the most enjoyable, fun and passionate environments I have ever had the good fortune to be part of. The venom that circulates through much of the blood of those involved in the cynical British music industry was not present here.

The other main difference I found between working with music as a medium and low-budget film-making is the level of control. There is such great margin for error in film and you are totally at the mercy of your environment. From this, I developed the philosophy, for convenience sake, that everything happens for a reason and when something is beyond your control, just embrace it. As Denzel Washington puts it: "The time to worry about flying is when you're on the ground".